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GRANNY MAUMEE 

THE RIDER OF DREAMS 

SIMON THE CYRENIAN 



THE MACMILLAN COMPANY 

NIW YORK • BOSTON • CHICAGO • DAUAS 
ATLANTA • SAN FRANCISCO 

MACMILLAN & CO., Limited 

LONDON • BOMBAY • CALCUTTA 
MELBOURNE 

THE MACMILLAN CO. OF CANADA, Ltd. 

TORONTO 



Granny Maumee 

The Rider of Dreams 

Simon The Cyrenian 

Plays for a Negro Theater 



BY 

RIDGELY TORRENCE 

n 



THE MACMILLAN COMPANY 
1917 



All rights reserved 

Copyright, 1917, 

Bt RIDGELY TORRENCE 

Copyright, 1917, 

By the MACMILLAN COMPANY 

Set up and printed. Published September, 1917. 



For permission to perform these plays application must be made 
to the author in care of the publishers. 



SEP -6 1917 



^GlO 47722 



V 



0. H. D. T. 



.•I™-.,- 



GRANNY MAUMEE 



GRANNY MAUMEE 

Scene: Living room in an old cabin with walls 
blackened by age. Red cotton curtains and 
red covers on the chairs and table. In left 
corner back, an open fire smoulders in a great 
rough fireplace. There is a door at back lead- 
ing out of doors. There are also doors left and 
right. A bed at left covered with a white 
counterpane. The room is neat and there 
are many growing flowers about potted in 
rude wooden boxes. Toward the right is 
an iron flower stand consisting of a basin 
mounted on a tripod. This stand is filled 
with a mass of bright red geraniums. A 
large chest against the wall at right is 
covered with red. A table near centre bears 
candles. Beside the table in a high-backed 
chair sits Granny Maumee. She is seen 
to be blind. She is black and thin, with 
white hair and a face so seared by burns 
that it masks her great age. Her great 
granddaughter Pearl, a girl of nineteen, 
is moving briskly about the room straight- 
ening chairs and rearranging flowers. 
(3] 



7^y 



/; 



4 GRANNY MAUMEE 

Pearl 
Seem kinder funny fer me to be fixin' up for 
Sapphie. Seem like I'm wukin' for her by the 
day. Mebbe she will tek'n hiah me now she's 
married. Seem kinder odd to be hiahed by a 
blood sisteh. 

Granny 
Spread my fine-spun sheets on de baid. 

Pearl 
I got the nex' bes'. 

Granny 
Fol' um up an' git out de fines'. 

Pearl 
Hit weahs um out so to wash um, an' Sapphie 
an' that man of her'n aint used to such good- 
ness. An' to muss um up des for one night! 

Granny 
Hit's de night er all nights. Hit's de boy babe 
wif 'em dat I wants de fineness fer. 

Pearl 

That's right, the baby. I keeps fohgittin' 
hit. I'll change'm. I'll git the linum sheets 
on an' then I'll lay the big covehled. 

[She draws coverlid off, hauls box from under 



GRANNY MAUMEE 5 

the bed, and opening it takes out bed clothes 
and remakes the bed.] 
You'n me'll have to lay in the broke baid this 
night. You won't git no rest. 

Granny 
No matteh, heah's a good baid fer de babe 
an' I'll soon git all my res'. 

Pearl 
I hope's Sapphie's husband aint too hefty, for 
the th'ee might break this heah'n same as the 
otheh'n is broke. 

Granny 
De husban' shain't sleep da nohow. You 
c'n lay him a bunk in de wash house. 

Pearl 
What! You aint goin' to leave him lay heah? 

Granny 
Dis baid my Sam bought fo' me. Onliest man 
kin eveh lay in hit shill be Sam's own blood. 
De babe an' his motheh'll lay heah dis night 
erlone. 

Pearl 
Well, the babe'll have plenty room and soft- 
ness. 



6 GRANNY MAUMEE 

Granny 
Wen my Sam wuz er babe we laid on cotton 
sack. We didn' have no baid, an' w'en he Uttle 
shaveh he say, ''Mammy, I goin' git you nice 
baid w'en I git er man." An' sho' nuff, w'en 
he grow up he took'n do hit, an' he mek pu'chus 
in de attehnoon an 'de baid come nex' day. But 
at midnight betwix' dee tuk'n bu'nt 'im. 

Pearl 
Now, Granny — 

Granny 
In de black dahk dee come on 'im, de bloody- 
handed mens, an' wheah dee cotch 'im dah dee 
bu'nt 'im, de right man settin' de wrong man 
afieh at de i'un hitchin' pos'. 

Pearl 
[Going to her.] Granny Maumee, don't leave 
yo'self go that away. Don't leave youah mine 
run on. 

Granny 
[Rocking back and forth.] My Sam, my man 
babe-um. 

Pearl 
Hit git you all wuk up an' wore out. You 
won't look good to company. 



GRANNY MAUMEE 7 

Granny 
Look! Has I looked fo' fifty yeah sence I rush 
in de fieh fo' my Sam, which hit de las' sight deze 
eyes seen? Oh, whuff o' dee drag me out an' 
hilt me back? I bo' one man an' him dee tuk'n 
bu'nt. An' 'e slep' right'n dis room w'en de man 
wuz shot w'ich dee 'cuze 'im er! Whuffo' dee 
drag me back f um de fieh? 

Pearl 

I sees the wisdom of Gawd in hit, Granny 
Maumee. Fifty yeahs ergo me and Sapphie's 
granpap been burnt and yet you was to live 
to git a new Sam. 

Granny 

W'ich 'e neveh come. Dee wuz all gals fum 
dat on, you an' yo' sisteh Sapphie an' yo' 
mammy an' yo' mammy's mammy, all down 
from my breas' : all gals. 

Pearl 
You fuhgits what Sapphie's fetchin' you. 

Granny 
Dat I don't, but not twell I sees 'im will Sam 
be cool off in my heaht. 

Pearl 
Granny, you can nurse the child but course 
you cain't espect to see him. 



8 GRANNY MAUMEE 

Granny 
Deze eyes shill yit behole — 

Pearl 
No, Granny Maumee, your eyes they're 
scorched and swiveled with the fire. But your 
arms ain't burnt, is they? An' they shall hold 
the baby! Tain't often old person live to heft a 
great-great-gran'baby. 

Granny 
Befo' my las' houah deze eyes shill look an' 
see ergin. [She rises.] 

Pearl 
Wheah you goin'? 

Granny 
Has you lay out my raid gown? 

Pearl 

Yes, it's all on the sofy. 

Granny 
Den I goes to primp up an' mek ready to 
receive. 

Pearl 
Yes, it's only perlite to put on ouah best to 
meet the husband. 



GRANNY MAUMEE 9 

Granny 

I dresses fer none but de chile. [She goes 
slowly out at left.] 

Pearl 

[Calling.] Betteb lay down fust, they won't 

be here for two hour yet. I'll be there pres'n'ly. 

[She continues to bestir herself about the room 

and then starts to follow Granny. There is a 

faint tap at the door at right. Pearl stops and 

listens. The tapping is repeated. She goes 

and opens the door. A young woman, looking 

much like Pearl and of about the same age, 

but gaudily dressed and carrying a baby, 

stands in the doorway.] 

Pearl 
[With a half-smothered exclamation.] Sapphie! 
[Sapphie motions her to be silent and softly, 
fearfully enters the room.] 

Sapphie 
[In a low voice.] Wheah Granny Maumee? 

Pearl 
She in the baid-room fixin' up. Wheah's 
youah husband? 

Sapphie 
[After a pause.] He — didn' — come — 



10 GRANNY MAUMEE 

Pearl 
Oh, that's too bad, but it's good to see you, 
and let's see the baby. 

Sapphie 
[Drawing back with the swathed and veiled 
child.] Not yet. 

Pearl 
Oh, he's asleep, of course. 

Sapphie 
[Pointing to doorway through which Granny 
passed.] Shut the door. 

Pearl 
[Obeying wonderingly .] Well, hit do look good 
to see you ergin, Sapphie. Hit don't seem like 
er yeah now sence you lef home. Does youah 
husband tek you to pictuh shows? 

Sapphie 
Puhl, what's Granny Maumee like now, is 
she failed any? Is she fie'ce as eveh 'bout the 
burnin' and the w'ite mens? 

Pearl 
Why, of course she is. She don't neveh change 
f'um year ter year. Come on, let's see baby. 
What youah husband's name? You nevah sent 
us wu'd what youah new name was. 



GRANNY MAUMEE 11 

Sapphie 
That's what I want to see you for before 
Granny Maumee comes out. Come here. [She 
lifts a veil from the child's face.] 

Pearl 
[Peering eagerly forward and then starting 
back.] W'ite! 

Sapphie 
[Breathlessly.] How'll she take hit? What'U 
she do? I'm scared of her. 

Pearl 
A light-head merlatter! So youah husband 
didn't come 'cause they ain't no husband. 
Who's the man? 

Sapphie 
You know wheah I work. 

Pearl 
Lightfoot ! 

Sapphie 
He des would have his way. 

Pearl 
So, he took you off to town with him, did he, 
and that's how come you have the luck to go. 
I praise King Jesus he kept me f'um such luck. 



12 GRANNY MAUMEE 

Sapphie 
How '11 she take hit? 

Pearl 
Take hit! Does you spose we can take'n tell 
her? Thank my Makeh she's Hind, It's the 
mussy of Gawd her eyes was swiveled in w'ite 
man's fire before she see the w'ite man mix with 
her blood. You — 

Sapphie 
Oh, I don't care what you calls me if you'll 
only help me and keep Granny Maumee off'n 
me and baby. 

Pearl 
It's only helpin' to keep us all from 'struction 
that I'll keep it from her. 

Sapphie 
What you think she'd do if she found out? 

Pearl 
I don't know. Sometimes when her mine runs 
on 'bout the burnin' she begins to go back'ards. 

Sapphie 
[Fearfully.] What you mean? 

Pearl 
You knows what I means. Away from the 
love of Gawd, back to that Affykin devil stuff. 



GRANNY MAUMEE 13 

Sapphie 
[Starting with a cry toward the door at back.] 
Oh, she might witch me and the baby too. 

Pearl 
Don't be scared. She won't tech you 'cause 
she won't know the sinneh you been. 

Sapphie 
He des would have his way. [A tap is heard 
outside Granny's door.] 

Pearl 
She's comin'. 

[Sapphie shrinks back toward opposite side of 
room as door opens and Granny enters wear- 
ing a red dress with red apron and red silk 
cap on her head. She pauses just inside and 
listens intently.] 

Granny 
Who bin talkin'? 

Pearl 
Me. [She guides Granny to her chair.] 

Granny 
Well, talk on. How I look? [She straightens 
proudly in her chair.] 



14 GRANNY MAUMEE 

Pearl 
Good. The red ain't faded none. 

Granny 
Dat's good, fer I needs hit bright dis day an' 
night. De babe'll wan' tuh see hit. Red's de 
fus' coloh er baby notice an' red allers goes wif 
black. Red neveh go wif w'ite. Looks ghas'ly. 
I use allers tuh wrop my Sam in red — [She 
pauses and her voice grows shriller.] an' red's de 
las' way I seen 'im. 

Pearl 
Now, Granny — 

Granny 
Dat's right, I mus' tek my mine off er dat 
sight now. But I'll tek'n' wrop dis noo black 
babe in my red ap'un dat hilt my Sam. In red 
he shill be wrop an' black he shill shine. Royal 
black we is an' royal black we shill stay. Praise 
my Makeh, dey ain' no drop er any yutheh 
coloh in 'im. All us wimens wuz hones', all de 
way down, an' we kep' clean er de w'ite streak. 
We kep' us clean, praise my King, an' we will 
ter de een'. W'ite blood were 'stroyin' angel tuh 
my fambly f'um de beginnin's, but hit neveh 
yit mix wif us. We wuz save f'um dat las' 
pizen. 



GRANNY MAUMEE 15 

[Sapphie turns as though to go out through the 
door at right with her child. Pearl motions 
her through side doorway at left. She goes 
out softly.] 

Pearl 
Hattie Lee she uz hones' an' her baby's w'ite. 
That w'ite man tuk'n marry her with preacheh. 

Granny 
Married wif preacheh! Do dat change de 
trashy blood? I wudn' have dat kinder mud 
pumpin' in er babe er my blood, not ef de 
sevumty eldehs had j'ined a w'ite man tuh you 
er Sapphie. 

Pearl 
W'ite blood no wus'n black blood. 

Granny 
'Tis fer us! 'Tis fer dis house er sorrer. Hit's 
bin fieh, hit's bin death, hit's bin de crawlin' 
stream er hell fer me an' my fambly as fur as 
I knows, an' dat's a hunderd yeah. But I lets 
all de yutheh go, 'ca'se I hates um ernuff fer 
dis one thing — 

[She goes to red-covered chest at right, lifts the 
lid and takes out two half-charred sticks of 
wood.] 



16 GRANNY MAUMEE 

Pearl 
Now, Granny, put um back — 

Granny 
[Waving the sticks.] Deze, w'ut I snatch f'um 
de fieh undeh Sam. Deze is ernuff to mek us 
hate all er dat blood an' keep hit fur f'um us. 

Pearl 
[Going to her and taking the sticks.] Is this heah 
makin' ready for comp'ny? Now ca'm yo'se'f. 
[She lays the sticks on top of the chest.] 

Granny 

[Seating herself and growing suddenly very still 
as though listening.] Yo're right. Time's up, 
de houah is heah an' de chile is neah. I feels 
hit. Run an' open de do'. Sapphie mus' be 
comin' up de paf. Mek ready. I feel my noo 
man chile neah me. 

[Pearl goes out doorway at left. After a mo- 
ment she and Sapphie enter without the baby. 
Granny stands up.] 

Sapphie 
[Going forward hesitatingly to Granny.] 
Granny Maumee. 

Granny 
Give 'im heah in deze ahms. 



GRANNY MAUMEE 17 

Sapphie 
I lay him in yutheh room. I want to see you. 

Granny 
Fetch 'im. 

Sapphie 
Aint you glad to have me back? 

Granny 
Fetch de babe, be swif! [Pearl motions to 
Sapphie; she goes out to get the baby.] 

Pearl 
Her man, he couldn't come with her. 

Granny 
No diffunce. I bless de man an' wish 'im 
well, he's suVed his puhpose, but he ain' none 
er ouah blood. De boy babe's de chief un. 
[Sapphie enters with the baby.] Give 'im heah, be 
swif. 

[Sapphie hesitatingly lays the child in Granny's 
outstretched arms. As she does so a strange 
reaction, like an electrical shock, seems to over- 
take the old woman. She holds out the child 
as though she would give it back. After a 
moment, however, she presses it to her breast, 
rocking back and forth and crooning to it.] 



18 GRANNY MAUMEE 

Babe, man babe-um, er noo man, er puore- 
blood man raise' up atter all dem gals. Sam 
kin res' now. 'Caze w'y — [She begins to chant.] 
'caze er noo man bin raise up an' he shill 
lay hoi' er de stahs an' th'ow um down fer 
vingince. He shill be er 'stroyin' fieh er heavum 
tuh roll ergin de hell fieh w'ut dey lit fer Sam an' 
quinch hit out fuheveh. De wrath er Gawd 
shill be wif 'im an' de w'ite blood shill puhvail no 
more ergin 'im. De sun an' moon shill rise no 
mo' on my house an' fin' on'y gals, 'caze we got 
er puore-blood man fer to gyard an' carry us on. 

[From time to time during her words she has 
paused and bent intently over the baby, striv- 
ing to see it.] 

An' my King'il not keep de cuss on me now 
an' leave me go down to de grave wif ou ten 
sight er you, my babe-um. Dese eyes shill yit 
behole. [She rises with the child in her arms.] 
Go on out er heah, Puhl an' Sapphie, lemme be 
alone now wif my babe. [She waves them out 
imperiously.] 

Pearl 
Whuff o'? 

Granny 
I wan's ter see dis chile beio' I dies. 



GRANNY MAUMEE 19 

Pearl 
Why, Granny Maumee, your eyes is swiveled 
up with the fire. You couldn't see. 

Granny 
Go. I won' be long. 

Pearl 
[To Sapphie.] Come on, don't cross her. 

Sapphie 
[Whispering.] I'm 'fraid — 

Pearl 

You know she couldn't [Theij go out door- 
way at left.] 

[Granny stands staring down at the child in her 
arms for some time. She then goes over to 
the bed and lays the child upon it, bending 
over it and striving to see. At last she turns, 
goes swiftly over to the red-covered chest and 
taking from its top the two charred sticks, 
turns, lights them at the fireplace, comes for- 
ward to the middle of the room and holding 
the flaming faggots before her face peers 
steadily at the7n.] 

Granny 

[Suddenly in a loud voice with upraised face.] 
Sam — ask Gawd tuh give back my sight dis 
night er all nights an' leave me look at de noo 



20 GRANNY MAUMEE 

man w'ut bin handed down ter us. Fer we kep' 
de blood puore. Ask an' we shill receive — [In a 
still louder tone, stretching upward her hands.] 
Lawd, I believe. 

[She suddenly sways, turns, drops the sticks on 
the hearth, puts her hands before her eyes and 
staggers forward. After a moment she takes 
her hands from her face and looks tremblingly 
about.] 

Yes — he give hit back — I sees — Oh, my black 

babe! 

[She moves swiftly to the bed and bends over the 
child. There is a moment's pause.] 

W'ut dis? Cain' I see yit? De wrong coloh. 
[She turns swiftly, seizes a white cloth from a 
chair and a black one from another, holds 
them up and looks at them alternately.] 
W'ite— black. 

[Then turning to the bed she stares again at the 
child. After a moment she straightens and 
reaching her hands upward she gives a cry.] 
W'ite! Debbils! 

[Sapphie and Peael appear in doorway. 
Granny bends over the child with clawlike 
fingers raised as though she were about to 
strangle it. Sapphie darts forward and 



GRANNY MAUMEE 21 

snatches the child. Granny turns and looks 
at Sapphie and Pearl in turn.] 

Pearl 
She sees! 

Sapphie 
Granny Maumee, the babe'll be ouah'n an' 
we can raise him right. He's a good baby and 
don't cry none. I don't want hve'n town. I 
want to Hve here with you and Puhl. Baby '11 
love you. And we won't be no trouble to keep 
'caze I got money. Look — take this. 

[She draws from her bosom a crumpled hand- 
ful of bills which she stuffs into Granny's 
hands.] 

Granny 
Wheah you git dis? [She stands immovably 
staring before her.] 

Sapphie 
He give it to me. 

Granny 

[Shaking off the money onto the table.] W'ite 
man money. 

Sapphie 

He des would have his way, but he's good to 
me and he takes care of me. He's comin' heah 
to-night to see me. 



22 GRANNY MAUMEE 

Granny 
Wut de name? 

Sapphie 
Young Lightfoot. 

Granny 
De gran'pap er dat man tetch off de fieh w'ut 
bu'n up my Sam. 

Sapphie 
But this'n ain't that away, Granny Maumee. 
He's always kind. 

Granny 
Wen's de man comin'? 

Sapphie 
He'll be here soon and if you'll only listen 
he'll sure talk you round. 

Granny 

[Pointing to the baby.] Hit wants out. Take 
it out an' come yer. 

[Sapphie obeys, going through doorway at left. 
Granny suddenly turns to the flower-basin 
mounted on a tripod. Seizing it she empties 
both flowers and earth in the fireplace, 
where she refills the basin with live coals. 
Then bringing it forward she replaces it upon 
its tripod.] 



GRANNY MAUMEE 23 

Pearl 
Granny Maumee, you're slippin' backwuds, 
please don't fuss with that conju'n fooHshness, 
they ain't nuthin' into hit an' hit des keeps you 
'cited. 

Granny 
Debbils calls out debbils. 
[She goes to several places where upon the walls 
are hung hunches of dried herbs. From sev- 
eral of these she seizes handfuls.] 
Come, my seedin' Jimson, come, ole Rattlesnake- 
Marsteh, come, my Black-Bail, w'ut Pap Jack 
han' me up. 

[Sapphie reenters the room and stands watching 
Granny in terror. Granny closes all the 
doors to the room, then going to the red-covered 
chest on the right and ope7iing it she drags 
forth several coils of blackened iron chain 
which she casts upon the table. She sprinkles 
a few of her handful of herbs on the fire in the 
brazier. A dense smoke arises.] 

Sapphie 
[With a scream.] Don't ! Oh, don't conjuh me. 

Pearl 

[Scornfully.] Don't fuss, Sapphie, she won't do 
no harm. What the chains for. Granny? 



24 GRANNY MAUMEE 

Gkanny 
Dem's de chains w'ut bine Sam w'en dey 
tuk'n bu'n 'im. 

Pearl 
What you worry yourself by gittin' um out 
for? 

Granny 
I ain' worried no mo'. [She throws more herbs 
on the fire in the brazier.] Dem chains fer de 
w'ite man. 

Pearl 
What you mean? 

Granny 

[Pointing to the door at left back.] W'en de 
w'ite man knock de do' shill be open an' dat 
shill be de beginnin' er his trials. 

Pearl 
What you mean? 

Granny 
De smoke in dis room will &trankle de man's 
will in his breas' an' I'll use 'im den as I choose. 

Sapphie 
What you goin' do to 'im? 

Granny 
I goin' lead 'im out tuh de i'un hitchin' pos' 
w'ut dey fas'en Sam ter an' I goin' tuh chain 



GRANNY MAUMEE 25 

'im da wif dese chains an' I goin' tuh bring 'im 
tuh 'imself an' den I goin' tuh bu'n 'im lak he 
gran 'pappy bu'n Sam. 

Sapphie 
[With a scream.] You shan't. 

Pearl 

You spose we leave you do hit? 

[The girls start forward toward the doorway at 
left back. As they near Granny she swiftly 
seizes a handful of burning herbs from the 
brazier and waves them smoking across the 
faces of the girls under their nostrils, so that 
they breathe the fumes. They take a few 
steps farther, staggering, and then stand 
motionless and silent. She takes them by 
the hands and leads them back. The fumes 
of stramonium, solayium and other herbs have 
produced catalepsia. Granny goes to the 
fireplace at back and from the mantel takes 
a wooden bowl, a short stick and a large dry 
gourd. She returns, gives the bowl and stick 
to Sapphie, causing her to beat rhythmically 
on the inverted bowl with the stick, a motion 
which Sapphie continues in imitative hypno- 
sis. Granny gives the gourd to Pearl, caus- 
ing her to shake it. The gourd gives forth a dry 
rattle from seeds or pebbles within it. Granny 



26 GRANNY MAUMEE 

then places the two girls on either side of the 
tripod and they continue their drumming 
and rattling rhythmically. She then takes 
her place back of the tripod and casts more 
herbs upon the fire.] 

Granny 

Sistehs, kin yo' heah me speak? Answeh, 
Sapphie. 

Sapphie 
[In a dull tone.] Yes. 

Granny 
Answeh, Puhl. Does yo' heah me? 

Pearl 
[Also dully.] Yes. 

Granny 
Does yo' see? 

Both Girls 
Yes. 

Granny 

Den watch me mek my w'ite man Lightfoot 

outer Lightfoot money. 

[She seizes the bunch of bills from the table and 

plucking strands of hair from her head she 

begins tying the money together; taking the 

candle from the table she holds it over the tri- 



GRANNY MAUMEE 27 

pod until it is soft and then kneads it with 
the money until the whole grows into the 
rude semblance of a huinan figure. Stooping 
then to the hearth she takes up the two charred 
sticks of her son's pyre and with one of these 
she stahs the wax mannikin through the 
breast. Holding up the impaled figure she 
stands over her tripod and again speaks:] 

Say dis atter me : — 

By de fieh at night, by de black boy down, 

The Sisters 
''By the fire at night, by the black boy down," 

Granny 
By de skunt-off face an' de red on de groun', 
[The sisters repeat each line after her in unison, 
keeping up their rhythin with drum and 
rattle.] 
By de w'ip an' de rope an' de chain dat swung, 
By de bloody mouf an' de bit-off tongue. 
By de eat-up heaht an' de spit-out gall. 
We scream, we beg, we whoop, we squall 
Tuh git poweh, tuh git stren'th tuh put de trick 
on um all. 
[Afterjhis the remainder of Granny's curse is 
spoken by her alone. The sisters continue 
their sounds with the drum and rattle.] 



28 GRANNY MAUMEE 

Let um git no res' in bed, er good at vittals, er 
hope at wu'k, er he'p at home, er peace wif fren's 
er kin, er tryin' tuh tek pleasuah, er in any place 
dey kin go er hide. 

Th'ee fingeh Jack my Obi pap, 
He'p me, ole Marsteh. 
Keep de promise wif um all. 

[She lifts the mannikin on the stick and looks 
at it.] 

Now, my Lightfoot, yore tu'n's come. 
Dis is Lightfoot, Ole Marsteh. 

Let me slit 'im an' bu'n 'im an' was'e 'im an' cut 
'im an' choke an' weah 'im an' teah 'im as Sam 
'uz slit an' choked an' bu'nt an' was'e an' cut 
an' woah an' toah. 

[She waves the mannikin to the four points of 
the compass.] 

Fo' times fo' times fo' times fo', 
Fly an' call an' open de do'. 

De chains is ready, de man is neah, an' almos' 
heah an' de chahm shill hoi'. 

Spile 'im as I spile 'im. 

[She casts the mannikin and the sticks with 
ferocity into the fire on the tripod and then 
bends down staring intently into the fire. 



GRANNY MAUMEE 29 

There is a moment's silence and then she 
gives a cry, as she looks into the fire.] 

Sam! Is dat you in da? You instid er he? 

W'ut dis? Is we bin trick? 'Tain't you— 'tis 

you — Sam! Ah-h! 

[With a cry she snatches the blazing mannikin 
from the brazier and folds it in her caught-up 
apron, staggering and beating the air as 
though battling with unseen forces. Suddenly 
a gust of wind blows open the door at the 
right and a breeze fills the room, blowing the 
smoke and fiuttering the garments of the 
women. The drum and rattle cease and fall 
to the fioor. Immediately Granny raises her 
face in awe, seeing a vision. She stretches out 
her arms toward it, speaking brokenly.] 

Sam! Yes, I sees yo'. I heahs yo'. Yes, my 
Babe-um.— Talk on.— Tell me.— Wat! 

[She pauses, listening intently, with eyes fixed on 

the unseen.] 

Leave 'im go!— Oh, how kin I?— Gi' me stren'th. 

[She pauses again and bows her head. After a 

momerit she again raises her face to the 

vision.] 

I knows.— I fuhgot. I'll do hit.— I des wen' 

baekerds but I'm wif yo' now.— Yas— Ez we 



30 GRANNY MAUMEE 

fuhgives uthehs — yas — I knows — we'll do hit. — 
We will be tuhgetheh. — Ez we fuhgives uthehs. 

[A knocking is heard on the door back, at left of 
the fireplace. (tRANNy turns her head and 
listens. After a pause the knocking begins 
again more imperatively. She turns, seizes 
the tripod brazier, casts it into the fireplace, 
and staggers toward the door, taking her 
stand beside it. The knocking pauses.] 

Go back, w'ite man. Roll back, w'ite wave er de 
fiery lek. Once you lit de fieh an' bu'n me. 
Once you po' de blood an' pizen me, but dis 
time Sam an' me we's de stronges' an' we leaves 
you go, we leaves you live tuh mek yore peace 
wif Gawd. We're puore bloods heah, royal 
black — all but one an' we'll do de bes' we kin 
erbout 'im. He shill be name Sam. Go back, 
w'ite man, an' sin no mo'. 

[She pauses and listens. There is no further 

sound from without. Granny staggers over 

to the sisters and shakes them, saying in a 

faint voice:] 
Wake up, Sapphie; come tuh, Puhl. [As she 
does so she looks upward again and cries out:] Sam, 
we done hit, an' we stays tuhgetheh! 

[She sinks down slowly to the floor. The sisters 

have stirred and looked about stupidly. 



i 

\ her 



GRANNY MAUMEE 31 



Pearl now sees Granny and bends over 



Pearl 

[With a cry.] Ah — Granny Maumee's dead. 

[She runs terror-stricken to the door at back, 
crouching beside it. Sapphie then, after 
gazing intently at Granny, suddenly runs 
toward the door and dragging it open rushes 
out, followed by her sister.] 

Both Girls 
[Outside.] Granny Maumee's dead! Granny 
Maumee's dead ! 

[Their voices gradually die away in the distance, 
the door blows shut. The body of Granny 
Maumee is left alone in the room.] 

CURTAIN. 



THE RIDER OF DREAMS 



THE RIDER OF DREAMS 

Scene : Night in a room used for kitchen, dining- 
room and laundry by a colored family. A 
lamp is set upon a central table laid with a 
spotless table cloth. Baskets of clothes stand 
on several chairs. At the back is a cook-stove 
and to the left of this a door. There are also 
doorways at the right and left of the room. 
Lucy Sparrow, a worn, sweet-faced woman 
of forty, is sprinkling clothes at an ironing- 
board at left with her back turned to the table 
beside which, on a high stool, is perched a small 
boy, Booker Sparrow. Both the boy and 
the woman as well as the room show a pains- 
taking neatness despite the disorder necessary 
in the process of a professional "wash." 

LtJCY 

Who make you? 

Booker 
God. Ain't the mush done now? 

Lucy 
It's done but I ain't done wif you. You got 

[35] 



36 THE RIDER OF DREAMS 

to learn good befo' you can eat good. Who re- 
deem you? 

Booker 
Christ. rU stop being hungry for it if I don't 
get it now. 

Lucy 
Bettah lose youah wishes an' youah ahms an' 
laigs an' everything youah body's fix wif an' 
keep youah immortal soul. Who sanctify you? 

Booker 
The Holy Ghost. I don't want nothing but 
mush. 

Lucy 
Well, you ain' goin' to git hit twell you luhns 
de questions. What de chief en' of man? 

Booker 
Chief end of man is to glorify God and enjoy 
himself for ever. 

Lucy 

[Coming swiftly forward and confronting him 
with a threatening look:] Enjoy hisself! I ain' 
neveh teach you dat. You know betteh'n dat. 
.^ Man got no right to enjoy hisself. He got to 
enjoy Gawd. You knows dat as well as you 
knows eatin'. An' you got to say it an' what's 



THE RIDER OF DREAMS 37 

mo' you got to live it. Now what de chief en' 
of man? 

Booker 
Enjoy God forever. 

Lucy 
Dat's mo' Hke it. [She turns her back and 
going to the ironing-board resumes her labours, 
still talking.] I'm raisin' you fo' de Kingdom 
an' you'ah goin' in de Kingdom ef pushin' '11^ 
Ian' you dere. Because dis time anutheh yeah 
you may be in some lonesome graveyard. 
[Singing:] 

In some lonesome graveyard, 
Oh, Lawd, no time to pray. 

[As she sings Booker stealthily slips off his 
stool and going around to the opposite side 
of the table takes a spoon with which he ap- 
proaches a dish set upon a warming-shelf 
fixed to the stove. He furtively dips his spoon 
in the dish and begins to eat. Lucy con- 
tinuing her singing.] 

Play on youah harp, little David, 
Little Davy, how ole are you? 
"I'm only twelve yeahs ole." 



38 THE RIDER OF DREAMS 

[She turns and discovers Booker.] What! You 
stealin'! I'll show you! [She gives him a cuff 
and a shake, depositing him again upon his stool.] 
You shorely is on de way to de fieh but P'm 
goin' pluck you out ef it skins you alive. Steal, 
will you? What de sevenf commandment? 

Booker 
[Sniveling.] Thou shalt not steal. 

Lucy 
/ See dat. You knows it but you des won't hve 
\hit. Well, I'm goin' live it into you. I'm goin' 
/Slap sin out of you. [She gives him another shake.] 
An' de grace into you. Now you say dat com- 
mandment sevumty times sevun. Begin. Say 
, hit. 

Booker 
Thou shalt not steal. Thou shalt not steal — 
[The door at back opens arid Madison Sparrow 
stands in the doorway lookirig on the scene 
within the room. He is a tall, loose-jointed, 
lazy-looking man. In one hand he carries a 
long green hag.] 

Madison 

[After a survey of the situation.] What de boy 
do? 



THE RIDER OF DREAMS 39 

Lucy 
He steal, dat what he do. 

Madison 
Um. What he steal? 

Lucy 
Mush. I tole him not to tech it. 

Madison 
Well, he was hongry, weren't he? 

Lucy 
Dat ain' de p'int. . Tweren't his till I give it 
to him. 

Madison 
[Places the bag carefully by the doorway, 
throws his hat upon it, then seats himself at the 
table.] Bring on dat mush. I'm tia'hd of dese 
fool doin's. Dey ain't no git ahead wif um. Ef 
de boy wants mush let him git mush. 

Lucy 

[Placing food before him on the table.] Yes, but 
not rob it. 

Madison 
Who talkin' 'bout robbin'? 

Lucy 
Madison, dat's de wrong kin' of trash fo' dis 



40 THE RIDER OF DREAMS 

baby to heah. Go lay down, honey. Tek de 
bowl wif you. 

[Booker whines but takes a dish and goes to 
doorway at Left.] 

Madison 
No, hit's de right kin' of preachin'. I'm 
tia'hd of all dat ol' fashion way of doin'. Ef 
I wuz to wuk my ahms off dat ol' fashion way 
I couldn't git no furder. 

Lucy 
What you bin wukin' at dis yeah, Madison? 

Madison 
Dat's it. You know dat I'm bin lookin' fo' 
it and couldn't find hit. 

Lucy 
What you wuk at last yeah? 

Madison 
You knows I wuk in de strippin' factory. 

Lucy 

Jes' two weeks. 

Madison 
You knows I wuk till I strain my back. But 
neveh min' about all dat. I done tuhn oveh a 



THE RIDER OF DREAMS 41 

new leaf. I goin' to be a business man. I goin' 
to let de otheh man wuk. 

Lucy 

'Sposin' everybody was to do dat away. 

Madison 
Let 'em do hit. I don' ask nothin' of nobody. 
I goin' to have every toof in my haid covehed 
wif gol'. I'll get youah'n an' Book's fix dat way 
too. I goin' to have plenty society grub in me 
all de time. I ain' goin' to let my fam'ly suffeh. 
I got too sweet a disposishun fo' dat. I'll git 
'em whateveh I want. 

Booker 

[Lingering in doorway.] When you get rich 
will you get you the guitar, Daddy? 

[Lucy waves Booker through doorway. He 
vanishes.] 

Madison 
I'll git it an' I got it. Watch me now. [He 
goes over to the bag by the door and reaching in it 
produces a handsome guitar.] Dat's de beginnin' 
er good times, boy. 

Lucy 
[With sickening apprehension.] Madison, 
where you git dat insterment? 



42 THE RIDER OF DREAMS 

Madison 
Dats' de Lawd's insterment, Lucy. He done 
pervide it. 

Lucy 
Oh, Madison, dat ain' youah'n. 

Madison 
'Tis now, honey. 

Lucy 
No, youah las' dime you spent Sunday an' 
I ain' give you no money since. You got it 
wifout payin' for it. You charged it. 

Madison 
Yassah, I got it wifout payin' for it an' I goin' 
to keep on a-gittin' it wifout payin' for hit as 
long as de gittin's good. 

Lucy 
How you like to be treat dat way? 

Madison 
What way? 

Lucy 
If you was keepin' a store, to have folks charge 
things when dey didn' know how dey could 
pay. 

Madison 
I'm willin' fo' to be treat dat way ef dey can 



THE RIDER OF DREAMS 43 

do hit. Let 'em come an' git my things if dey 
finds any. 

Lucy 
[Breaking down.] Oh, I cain' stan' hit. 
Youah sinkin' fas' down to de fiery lake an' 
you's pulHn' my Baby down too. 

Madison 
No, I's raisin' him up an' I goin' to Ian' us all 
in a sof place on dat Easy Street I heah em 
singin' 'bout so long wifout seein'. 

Lucy 
[Suddenly examining the guitar.] Wheah you. 
git dis guitar? 

Madison 
What guitar? 

Lucy 
Dis. Oh, Madison, dis is 'Zek'l Williams' 
own guitar dat he wouldn' sell. Dis is de guitar 
dat nobody couldn' buy. How you come by it? 

Madison 
Look heah, woman. You act like I stole de 
guitar. You don't think I'm a thief, do you? 

Lucy 

How you come by hit? 



44 THE RIDER OF DREAMS 

Madison 
I got it off Wilson Byrd. 

Lucy 
Dat sneakin' w'ite man. How'd he git it? 

Madison 
I didn' ask him. 

Lucy 
What you give him fo' hit? 

Madison 

Oh, dat's anotheh story. Him an' me's goin' 
in business togetheh. 

Lucy 
Oh, Madison, dat w'ite man stole dis guitar. 
Oh, take it back dis minute an' snatch youah 
soul from de bu'nin'. 

Madison 
Who, me? What you tak me fo', gal? Take 
back a guitar to de rich man, de man what own 
de very house we live in ! 

Lucy 
Well, we soon will buy hit. 

Madison 
Dat's right. We will. But dat ain' de ques- 
tion. I didn' git dis guitar fo' to return it, I git 



THE RIDER OF DREAMS 45 

it fo' to play it. I boun' to play it cause I'm 
goin' to be er rich man soon an' I got to have a 
plenty music in me. 

Lucy 
You goin' to git rich playin' guitar? 

Madison 
[Laughing comfortably.] Eh, yah, yah. 
Whoopee! No indeedy. I flies higher dan 
music flies. I'm one er dese heah kine er 
'lectioneerin' mens which make dere money 
work fo' um. Dey sen's one dollah out in de 
heat an' sweats her twell she rolls home wif 
anutheh. 

Lucy 
How you goin' to put money out, Madison, 
lessen you wuks an' gits de money? 

Madison 
[Cunningly.] Oh, don' yo' botheh youah 
haid long er dat. I bin down low and folks 
trample me des same as a wu'm, but now I'm 
goin' spread my wings an' sting 'em like a king 
bee. Whaffo' I lay dere an' let'm trample me? 
'Twere because I lack conferdence. I puts my 
'pen'ance on dis promis', I puts my 'pen'ance 
on dat, an' dey all fails me. 



46 THE RIDER OF DREAMS 

Lucy 
You ain't neveh put youah trus' in Gawd. 

Madison 

Yassuh, I did, an' Gawd He up an' gimme 
de go-by too. What He bin doin' fo' me? 
Nuthin'. Now I goin' spit on my ban's an' 
whu'l in an' trus' myse'f . An' I feels lots betteh. 
I can feel conferdence wukin' all oveh me. I 
casts 'em all off. I'm lookin' out fo' myse'f. 
M-m-m — It took me long time to git heah but 
now I'm heah let 'em look out for me. [His 
voice rises to a chant] 

M — m — m — Midnight on de sea. All de lights 
out. I'm carryin' hod on Jacob' laddeh to 
build me a new house an' I'm buildin it high, 
man. Don' tech me. I'm a flame of fieh an' 
I'll singe you sho'. If dey asks fo' me tell 'em 
say, ''I saw somethin' sailin' up but he was 
headin' fo' a high hill on de sun an' my eyes 
failed me." Tell 'em say, "He had de fo' win's 
runnin' like stallions to fetch up wif him but 
dey carried 'em out, an' buried 'em in de 
valley. He bus' dere hea'ts!" Tell 'em say, 
"He was herdin' lightnin's like sheep an' dey 
wuz too slow an' he picked 'em up an' sheared 
'em an' sent 'em home." 

Dat's me, I'm de one you'll be talkin' bout. 



THE RIDER OF DREAMS 47 

Fer why? 'Cause I cas' off ever'thing an' I 
puts my trus' in myself an' nuthin' can't hole 
me. De mo' I says it de mo' I feels confer- 
dence. I feels it a wukin'. 

Lucy 
You goin' to wuk, Madison? 

Madison 
Yes, indeedy. I got to wuk an' wuk ha'd. 
I can't shirk none. 

Lucy 
What wuk you goin' to do? 

Madison 
I'm a stock brokin' man. I goin' into de 
stock brokin' business tomorrer. 

Lucy 
How? 

Madison 
Buyin' an' sellin', dat's how an' which too. 

Lucy 
De Devil's wrastlin' wif you, Madison, an' 
you's perishin' fas'. Ef you keeps on in dis paf 
you'll Ian' mongs' de rocks er mournin'. You's 
let somebody tu'n you roun'. 



48 THE RIDER OF DREAMS 

Madison 
Not me. Nobody can't tu'n me roun'. I 
dreamed it an' I dreamed it right, face 
fo'mos' an' on de run. 

Lucy 
How dream? 

Madison 
Las' night an' day befo' yistiddy night an' 
night befo' dat. I wuz layin' groanin', ' ' Lawd, 
how long," an' I heah a voice say, ''Git up an' 
come a-runniri'." Looks up an' sees a fine w'ite 
saddle hoss. Hoss say, 

"Ride me right an' I'll guide you right." 

On I gits an' off he goes, slick as a rancid 
transom car. Comes to high hill lookin' down 
on de sun an' moon. Hoss stop an' say, 

''Brung you heah to give you noos 
De worl' is youahn to pick an' choose." 

I ax him ''How dat?" Hoss say: 

"How is how an' why is why. 
Buy low an' sell high." 

I say to him, "I got no money to buy. Wheah I 
goin' git de fun's to buy low?" Hoss respon': 

"Trus' yo'se'f an' take youah own. 
Git de meat an' leave de bone, 



THE RIDER OF DREAMS 49 

Bus' de nut an' fling em de shell, 
Ride an' let em walk a spell, 
Findeh's keepeh's, loseh's weepeh's, 
I hope dese few Hnes find you well." 

I ax him who tole him all dis an' hoss say : 

''Ole hoss Grab will nevah balk, 
All dis heah is w'ite man talk." 

Dat what de hoss say to me in my true dream 
ev'y night dis week an' I'm a-goin' to bide by 
hit twell de las' er pea time. 'Cause I'm er true 
dreameh an' my mammy she wuz befo' me. 

Lucy 
What come of de hoss in de dream, Madison? 

Madison 
Dat's all. Hoss went up in smoke an' I come 
down in bed. 

Lucy 
Hoss went up in smoke! No, hit went down 
in smoke an' fiah. 

Madison 
Now look-a heah, woman. I'm goin' to make 
you a good livin' f'um now on. I'm goin' into 
business termorrer. I'm goin' in de specalatin' 
wu'k. I'm goin' to buy low an' sell high. 



59 THE RIDER OF DREAMS 

Lucy 
What kin you buy wif? You got no money. 

Madison 
[Hesitating but collecting his forces gradually.] 
Oh, ain't I tell you 'bout dat? I got it in de 
dream. 

Lucy 
In de dream? 

Madison 
Um Hmmm. You know dat hoss I tole you 
'bout. Well'm, jes' fo' we pa'ted he prance up 
th'ough a starry fiel' an' come to a gyarden 
fence. Oveh dat fence he lep an', man, she was a 
fine gyarden. ''Whose patch dish yer?" I say 
to him. Hoss say: 

''If you asks me grab what you see." 

Den he reaches down an' pulls up a tu'nip 
wif his teef an' gives it to me an' say, 

"Dis gyarden truck will fetch you luck." 

[He watches Lucy furtively.] An' I takes an' 
sta'ts to peel dis tu'nip an' what does I find? [I 
finds she's a fine fat roll er bills, dem tu'nip tops 
is greenbacks. 

Lucy 
/ So youah money is dream money? 



THE RIDER OF DREAMS 51 

Madison 
Well, no, not ezackly. De hoss whispeh 
sumpin in my eah an' told me how to make 
dat dream money real money. An' I took de 
hint an' done it today. An' on dat money I'll 
buy low an' gouge 'em all good. 

Lucy 
How much you got? 

Madison 
Well'm — [He hesitates.] I got a little an' den 
some. I got erbout — fifty er so. 

Lucy 
Wheah you git it? [She catches hold of him.] 

Madison 
Tu'n me loose, woman. I goin' to baid. I 
got to make early sta't. [He pulls off his coat.] 

Lucy 
[Wildly.] I ain' goin' to let you stay in sin. 
[She snatches the coat from him.] I goin' take dis 
money an' make you say wheah you fgot it. 

[She begins hastily searching through the 
pockets of the coat.] 



52 THE RIDER OF DREAMS 

Madison 

[Calmly regarding her with great good humour 
and breaking into a laugh as she fails in her 
search.] Eh, yah, yah, sea'ch an' look, sea'ch an' 
look. 

Lucy 
Oh, Madison, ain' yo' got no honin' ter be 
hones' at all? 

Madison 
Hones'! What kin' er fool talk is dat? I 
done got my ear-string bus' now an' dem 
preachah wu'ds can't fool me no mo'. You'll 
neveh fin' it, honey. 'Cause why? 'Cause I'm 
got it in my pants an' I goin' to keep it f'um 
a foolish woman. 

Lucy 
[Running to him desperately.] You got to give 
it to me. 

Madison 
Gal, ef you don' tu'n me loose I'll git ugly. 
Now, look heah. I wants to heah de las' er dis. 
I got new ideahs. I got big plots en plans. I 
done give you de plankses in my flatfo'm an' 
I'm a-goin' to stan' on hit. When I makes a 
lot mo' money in de broker business 'Im a-goin' 
to give you all de gold youah ap'un'll hold, ev'y 
day er youah life, an' you won' have to wait long. 



THE RIDER OF DREAMS 53 

But till dat day an' to dat time I'm de treasu'eh 
er dis lodge an' I'm de stake holdeh er dis race 
an' dat money stays in de pu'se in de hip er my 
ol' jeanses. 

[He says this last slowly and with growing em- 
phasis and as he ends, gives himself a resound- 
ing thwack on the hip over his pocket. There 
is a moment's pause. He puts his hand 
hurriedly in the pocket and then dazedly into 
one on the other hip.] 

What dis? Wheah dat roll? 

Lucy 
[Fearfully.] I ain' tech it. You know I ain' 
bin neah you. 

Madison 

[Rushing to her.] Gimme de coat. 

[He snatches the coat and begins going through 
the pockets, from time to time searching and 
slapping the garments he is wearing.] 

Didn't you git it? You mus' er tuk it. 

Lucy 
No, Madison, I ain' see nor tech it. You 
watched me. 

Madison 
Oh, Lawd, he'p me look. 



54 THE RIDER OF DREAMS 

[He begins to run around the room, looking 
on the table, picking up articles and letting 
them fall, dropping on his knees and hunt- 
ing under the table and chairs. As he searches 
he grows more frantic] 

Oh, my Lawd, Oh, wheah is it? I got to have 
it. Oh, I couldn' lose it, hit ain' mine ter lose. 
Stay by me, Lucy, an' he'p me fin' it, git down 
on youah knees, Lucy. Oh, wheah did I drop 
it? I'm gittin' old an' needs it. Ef I lose dis 
I lose all my push. I was jes' goin' into bus- 
iness an' we all wuz goin' to fly high. I got to 
fin' it. I ain' give up. Lemme think. Oh, I 
hopes some hones' puhson foun' it. Lemme 
come on down — Know I put it on dat side 
'cause dat de side Mistah Long he wuz on — 
Oh, I'll go crazy — [He strikes his forehead groari- 
ing.] 

Lucy 
[Starting.] Mistah Long! He's cashiah in 
de Dime Savin's! How he give you money? 

Madison 
Oh, lemme see — he gimme de money an' I 
put it right in yere. [He fumbles again dis- 
tractedly m his pocket.] 



THE RIDER OF DREAMS 55 

Lucy 
[Pursuing him desperately.] Onliest money 
at de Dime Savin's is de money. You couldn't 
draw hit out. You didn' do dat, — you couldn' — 
Tell me if you did fo' I'll fin' it out tomorrer — 
Oh, tell me true — you couldn' when it's in my 
name — tell me now fo' I'll find it out. 

Madison 
Oh, I can't stand it. 

Lucy 
Ef you wan' me to he'p you den be free wif 
me. How you draw money from de Bank? I 
give you no papeh. You couldn' draw de money. 

Madison 
Wilson Byrd, he gimme de papeh. 

Lucy 
I give him no papeh. 

Madison 
He write it fo' you. 

Lucy 
Oh, Gawd, dat w'ite man write my name. 
You drawed de money — I see it now. You had 
dealin's wif a fo'geh, Wilson Byrd. 



56 THE RIDER OF DREAMS 

Madison 
Spar' me an' he'p me. He tol' me ef I draw 
de money he'd take me into business wif him 
an' gimme de guitar besides. 

Lucy 
Did you spar' me? Fifty dollahs! You said 
fifty, didn' you? How could you do hit? 
More'n six months' ha'd slavin'. Six months 
mo' befo' I can resto' it back. I could a bought 
de house tomorrer mo'nin' an' now hit's six 
months off to pay in dat fifty. It was fifty, 
didn' you say? Maybe 'twuzn' dat much. 
Tell me right. I'll fin' it out tomorrer. 

Madison 
Dis yere'll kill me ef I can't think. 

Lucy 
How much you draw? Tell me right. Look 
at me. Were hit fifty? [She holds his eye.] 
Less? Mo'? How much? [She continues to 
hold his lustreless eyes, reading them.] A hunde'd? 
Two hunde'd? Eight hunde'd? [A pause en- 
sues as she reads the truth in his face.] All of hit! 
/[She sinks in a chair.] Twelve yeahs' labour 
^ sence I married you an' termorrer I wuz goin' 
to mek de payment an' we'd a bin undeh owah 
own roof. I'm done. I could a paid off pa't, 



THE RIDER OF DREAMS 57 

mebbe fifty, but I won' las' twelve yeahs mo' 
at de same thing. But I thank Thee, Lawd, dat 
it wuz stole f 'um us all ef hit had to be stole. 

Madison 
Ef I could on'y think. Had hit in de bank — 
felt hit an' had it on Thu'd Street — slapped hit 
an' had it at Joe's house — slapped hit an' had 
it comin' up de alley — jes' fo' I clum de hill — 
lemme see — clum de hill — went in th'oo Wilson 
Byrd's hedge fence — he gimme de guitar — 
scrape my back comin' out — [His face shows 
gradual recollection, and suddenly brightens.] 
I knows now! Dat's hit! In dat white man's 
yard wheah he gimme de guitar! I wuz jes' 
goin' to give him de money when somebody 
grabbed him f'um behin'. He give a squawk 
an' skeered me. I run out th'oo his hedge fence 
an' scrape my back. I scrape de pocketbook 
out. She's dere! In dat Wilson Byrd's yard. 
I'll git it yit. Watch me. [He grabs his hat and 
runs excitedly toward the door.] 

Lucy 
[Rushing toward him.] No, sumpin' might 
happen. You might git mix up wif him ergin. 
Lemme go, but I mus' resto' dis guitar at Uncle 
Williams, as I go by his house. I'll slip it 
on his porch. Maybe he'll neveh know it wuz 



58 THE RIDER OF DREAMS 

gone. Oh, if somebody had seen it heah! How- 
could I have stood it? 

[She puts on a shawl and takes up the bag but as 
she lays her hand on the door-knob a loud 
knock is heard on the door. Both start back 
and wait. The knocking is repeated. She 
throws off the shawl, places the bag in a 
corner and returning to the door, opens it. 
She greets the visitor in a strained voice, 
almost with a shriek.] 

Uncle Williams ! Step in, please. 

[A man enters. The newcomer is old, with 
white hair and beard. He is probably of 

.^Moorish descent. He is so small and weaz- 
ened as to be almost a dwarf, but his whole 
demeanor indicates great latent power. A 
strong personality, dominating the two others 
from the first instant.] 

Williams 
Good evenin', Lucy. 

[He seems to be unaware of the presence of 
Madison. He comes forward with little 
mincing steps and an old man's gesture, then 
takes off his hat and sees about him. The 
others stand watching him, transfixed.] 

Ain' you goin' shut de do', Lucy? I feels draf's. 



THE RIDER OF DREAMS 59 

I'm gittin' old an' catches cold easy. Ain' you 
goin' take my hat? [She reaches for it mechan- 
ically, watching him apprehensively.] No, de 
hat — not de stick — ol' pu'son like me always 
need good stout stick er club case er havin' 
faintin' spell — sumpin' to lean on. Now, wheah 
a cheer, bettah fetch me er cheer fo' feah I might 
set on sumpin' you wouldn' choose fo' me. 
[She obeys dumbly and brings a chair to him.] 
Set it neareh. Dat's right. Now gimme youah 
shouldeh an' ease me down. Ah — [He leans 
heavily on her and sinks totteringly into the chair 
with a great show of feebleness.] Now take a 
cheer yo'se'f. I 'spize to see a ladj^ standin' an' 
me takin' my res', old ez I is. [She obeys, watch- 
ing him with doubt and dread.] Set it dah, wheah 
I can see you good. [Madison is standing up 
by the wall, right, gazing at him as though paralyzed 
with fear.] Dah now. We kin be ca'm and have 
a nice talk. Does you know what business I 
come yere fo' tonight? [He pauses.] You does, 
doesn't you? 

Lucy 
[Almost beside herself with nervous tension.] 
You — come to see — ef — [Recovering herself with 
a mighty effort.] Oh, yes, you come to look 
oveh de stove an' see ef you like to buy 
hit. 



60 THE RIDER OF DREAMS 

Williams 
[Musingly.] M-m. Well, I reckon — dat's hit. 
Yes, dey tells me y'all has a wahmin' stove to 
sell an' now katydid cease, fros' ain' fur off, an' 
I needs hit. Is dish yere de one? 

Lucy 
[Rising and rushing toward door at side.] No, 
not dat. Hit's outside — ef you please to step 
out. 

Williams 
Well'm, I'll take'n look her oveh. [She 
hastily lights a candle as he rises and totters in the 
wrong direction.] 

Lucy 
Th'oo heah, th'oo heah. De stove's out in de 
woodshed. [She grasps and guides him.] 

Williams 
Ah — well'm. Um hm. I always gives things 
er good lookin' oveh befo' takin' stock in 'm. 
You needn' come erlong. I lived so long in dis 
house befo' you wuz bawn dat I knows my way. 
Is de stove an easy wood eateh? 

Lucy 
Yes, yes. 

[She gives him the candle and almost pushes him 
through doorway at side as she follows him out. 



THE RIDER OF DREAMS 61 

Madison, who has watched fearfully from a 
dark corner, darts forward and looks after 
them, listening. He then runs toward the door 
at back but hesitates before it and turns as 
Lucy comes swiftly in from outer room, 
closing the door softly.] 

Madison 
What he say? Do he know? 

Lucy 
[Desperately seizing the bag and pressing it 
into his hands as she turns him again toward 
doorway at back.] Oh, I cain' tell. On'y resto' 
dis in case he don' know er case he do. Now's 
de one chance to be hones'. 

Madison 
Huh. What erbout dat eight hunderd dollah? 

Lucy 
I don' know. Trus' Gawd an' be hones'. 

Madison 
Huh uh. One of us has got to go look fo' dat 
money. 

Lucy 
One of us has got to take back de guitar. 



62 THE RIDER OF DREAMS 

Madison 
I'm goin' fo' de money. 

Lucy 
Den I'll take dis. [She takes up the guitar 
and she and Madison go toward door at hack. 
Then she halts.] Oh, Madison, you can do bofe. 
One of us has got to stay wif Uncle Williams. 
But take back de guitar first. 

Madison 
All right. I'll go. An' I ain't played on dis 
heah but twice. [He takes the guitar from her.] 

Lucy 
Go now. Can you fin' youah way to his porch 
in de dahk? 

Madison 
Will we find de money? Dat's de p'oblem I 
wants de answeh fo'. 

[Lucy opeiis door at back to go out. Madison 
is at her side. Both start back. Williams 
stands before them in the open doorway.] 

Lucy 
[Haltingly, after a pause.] How — you like 
— de stove? 

Williams 
[Entering more vigorously than before.] Well'm, 



THE RIDER OF DREAMS 63 

befo' we goes any furder we betteh come 
neareh de real p'int an' question. I didn' come 
fo' no stove dis night. [Madison shrinks back 
into the shadows.] 

Lucy 

[Slowly.] Yo'— don' — wan' — 

Williams 
No'm. To be sho', I might tek de stove one 
er dese days, but dat ain' my erran' now. Hit's 
dis; does you know when we mek de bargum 
about you buyin' dis heah house? 

Lucy 
Twelve yeah ago. 

Williams 
Gal, you dreamin'! 'Tweren't but las' year. 
'Twere de fus' er Octobah las' year an' I say I 
gives you de refusals fer one yeah. 'Membeh 
dat? 

Lucy 
Yassuh. 

Williams 
So fur so good. Now does you know what 
day de month dis is? 

Lucy 
Fus' er Octobah. 



64 THE RIDER OF DREAMS 

Williams 
Dat's true as preachin'. Well'm, time's up. 

Lucy 
What you mean? 

Williams 
I'm er man er my wuhd. Pay me de money 
an' tek de house. 

Lucy 
Termorrer — 

Williams 
No. Termorrer won' do. 

Lucy 
Why you push me so? Oh, please spar' me 
an' wait — wait anutheh day. 

Williams 
No, I'm er business man. I kin sell de house 
fer mo' money termorrer but I hold's to my 
wuhd ter sell it to you. I holds to it an' loses 
money, but it falls due dis day an' night an' 
I won' stretch it one jump er my hea't. 

Lucy 
You know — de bank — ain't open — 



THE RIDER OF DREAMS 65 

Williams 
Sign de check fer hit. You kin do dat, cain't 
you? 

Lucy 
I — s'pose — I — kin. 

Williams 
Den up an' do hit. Heah's er check, all wrote 
out but de signin'. [She takes the check he pro- 
duces.] An' heah's one er dese fountum pins. 
[She takes the pen.] Octobeh fus' — pay to 
Zek'l Williams — eight hunderd dollahs. Des 
write "Lucy Sparrow." [She mechanically 
turns to do so.] Looks easy, sho'. But de law 
allows hit; dis writin' out money. [He pauses, 
then adds impressively.] Dat is, ef you got de 
money in de bank. Co'se ef de money ain' dah 
an' you writes de check fer hit de law puts you 
in State prism. [She stops and stares at him.] 
[The pen falls from her hand and the check flutters 
to the floor.] What de matteh? You wants de 
house, don' you? [Lucy's head sinks.] An' you 
got de money, ain' you? 

Madison 
Dat's de question. [He comes forward out of 
the shadow.] 



66 THE RIDER OF DREAMS 

Williams 
[Seemingly observing Madison for the first 
time during the evening.] Why, heighyo, Mad- 
ison. I bin lookin' fer you dis very evenin'. 
Whah you bin? 

Madison 
Bin home. 

Williams 
Sho'ly not, Madison, sho'ly not all evenin'? 
Has you? 

Madison 
Yes. 

Williams 
Well, ain' dat de whu'lygig? I wuz lookin' 
fer you at Pratt's sto' at eight o'clock an' dey 
say you jes' lef dah. You wuz dah, weren't you? 

Madison 
No, suh. 

Williams 
Well, dere I am fool agin. An' who you think 
done fool me? 

Madison 
Dunno. 

Williams 
Well, suh, 'tweren't no one but — [He pauses 
a moment.] Wilson Byrd. 



THE RIDER OF DREAMS 67 

Lucy 
Byrd! [Springing to her feet with the shock.] 

Williams 

[After watching the two a moment.] So you 
ain' got de money no mo', is you? [They are 
speechless before him.] I knows you ain' 'ca'se 
I knows who has got hit. 

Madison 
[Involuntarily.] Who? 

Williams 

I has. [He observes them and then chuckles 
softly.] I has de money an' de bargum's closed, 
fer de goods is bin delivered an' dey're right in 
dis room in dat corner. One guitar at eight ^ 
hunderd dollahs. Insterments comes higher'n 
what dey did once but you would have it an' now 
you got it an' everybody's fixed. 

Madison 

[Groaning and bending over the table.] Oh! 

Williams 

Yassuh, de man what buys guitars at dat 

price su'tinly plays on de golden strings. Eight 

hunderd fer one guitar makes 'm mighty near 

twenty thousand dollehs er dozen. De cos' 



68 THE RIDER OF DREAMS 

er livin' is shore gone up but ef you mus' you 
mus'. 

Madison 
Oh! 

Williams 
Well, I cain' stay heah, I got er be ambhn' 
on. I much erbhge ter you to mek youah plans 
to move out er heah fo' I got ter sell de house 
befo' sundown. Well, so long, an' I hopes you 
gits all de good er youah high price music. [He 
turns again with his feeble old man's step toward 
the doorway, putting on his hat.] I wish y'all good 
evenin'. 

Madison 
/ [Moving toward him with the threatening deter- 
mination of despair.] Say, I've got to have dat 
money. I sees red. I'm gone bad an' I'll kill 
befo' I'll lose hit. 

[Williams suddenly turns with a swiftness and 
agility astounding in so old a man. Starting 
forward he confronts Madison with such 
dominance and fire that he seems suddenly to 
tower.] 

Williams 
You kill me! You tek m^cney away from me! 
Why, you po' grain er chaff, 3-ou don' know me. 
I'm a king in mxy own right. I got ways an' 



THE RIDER OF DREAMS 69 

means er pertecktin' myse'f dat you don' even 
dream on an' I don' need to lay a fingeh on you 
to do hit. Furdermo' I could brain you wif 
dis stick but ef you cross me I won' be dat easy 
on you. Ef you don' wan' wuss'n dat don' cross 
me no furder er youah troubles'll begin fer fa'r. 

Lucy 
Oh, please don' lay nothin' on him. 

Williams 

You po' sufiferin' gal, I won' lay nothin' onto 
'im but I'm agoin' to tek sumpin' off'n you. I'm 
goin' tek de burding er dish yere pack er laziness 
off'n you. An' fus' I wants ter show you dish 
yere piece er papeh. [He produces a folded doc- 
ument and opens it.] Does yo' know who wrote 
it? Answeh me. [He shoves the paper under 
Madison's eye.] 

Madison 

It looks like dat Wilson Byrd's writin'. 

Williams 
Yassuh, an' what's mo' it is dat man's writin'. 
It's his confession dat he fo'ge Lucy Sparrow's 
name. I saw dat man steal my guitar an' 
follered him home. Dah I grabbed him, dah I 
foun' de purse wif Lucy's name inside an' dah I 
made dat thief write out his confession. 



\ 



70 THE RIDER OF DREAMS 

Knowed so much of his meanness already dat 
he had to do hit. An' now I owns you. Does 
you undehstan' dat? Answeh me. 

Madison 

, Yas suh, no suh. 

Williams 
Well, I'll take'n cl'ar up de myst'ry fer you. 
I got dis confession outer Byrd an' I got other 
things ter prove hit an' I kin bring him an' you 
too, bofe befo' de gran' jury. 

Lucy 
Oh, my sweet Jesus, save him. [The old mmi 
stands watching the two before him for some time 
in silence. Lucy falls on her knees before him.] 
Oh, don't sen' Madison to de lawyers. 

Williams 
No, Lucy, I ain' wishful ter. 

Lucy 
You won't? 

Williams 

Mebbe not. But fus', les' put all dis talk aside 

dat I bin talkin' up to now. I bin puttin' on an' 

pretendin' in ordeh ter try you bofe an' sif 

de chaff from de grain in you. I des bin playin' 



THE RIDER OF DREAMS 71 

wif you ter see how good you is an' how ornry 
dish yere man er youahn is. Yit I'll take an' give 
him er chance even so, an' I'll pluck him f um 
de bu'nin' ef he follers de paf I p'ints out ter him. 
But we all got ter have cl'ar unde'stan'in' 'bout 
dat. Fus' an' fo'mos' youah money is all safe wif 
me. De house is youah'n. 

Lucy 
You means you sell it fer de money. 

Williams 
In co'se. You didn't speck I'd steal too, like 
a w'ite man, did you? I'll fetch you de deeds 
fo' hit fus' thing in de mo'nin'. 

Lucy 
Oh, fu'give me, I was all mix up. But you 
won' sen' Madison to de gran' jury neitheh? 

Williams 
I say I ain' honin' ter. 

Lucy 
Oh, my Makeh, I thank Thee fo' Thy mercy. 

Williams 
But I shorely goin' to put dis man er youah'n 
th'oo er tes' ter see whetheh he's fitten ter keep 
out er jail. Madison, will you tek er tes'? 



72 THE RIDER OF DREAMS 

Madison 
[Humbly.] Yassuh. What is it? 



Williams 
Madison 



A guitar. 

A guitar! 

Williams 
Yassuh, dat's hit, no mo' ner no less. I'm 
goin' give you dat guitar — but — dere's suh- 
tinly goin' to be a string tied to it. You kin 
take dat guitar but you got to make somethin' 
outer yourself wif her or back she'll come to 
me. You kin give lessons an' learn folks music 
or you kin write down de music you make, but 
you got to do somethin' wif it fer Lucy. You 
got to wake up or I'll take de guitar. Which'll 
it be? Make youah choice. 

Madison 
[Crushed.] I'll — keep de guitar. 

Williams 
An' dat ain' all. You got ter quit runnin' 
wif Byrd an' Byrd wif you, you got ter be a 
better husban' an' you got to min' everything 
Lucy tells you. Will you do hit? 



THE RIDER OF DREAMS 73 

Madison 
Yassuh. 

Williams 
An' yo' ain' much of er temp'unce man 
neitheh, is you, Madison? 

Madison 
I's a temp'unce man but I ain' no frantic. 

Williams 

Well, suh, you got ter jine de frantics now. 
No dram drinking at all. Will you quit hit er 
go ter jail? 

Madison 

I'll quit. 

Williams 

Well, dat's on'y a promise but I'll shore hoi' 
you to hit er put you behin' de bahs. Why, look 
heah, man, does you know how you stan' 'pon 
top er dis yu'th? Does you know how you 
liken to er tree? 'Sposin' sumpin' wif er cool 
eye like er tree could see you an' talk. I cain' 
jedge you ca'm but er tree could. Tree would 
look at you an' say, ''Does dat 'ere man wu'k?" 
Win' 'ud whispeh, "No." "Do he eat?" 
" Yas 'n git fat," respon' de win'. "Who shines 
on him?" "His wife," win' say. "Do he put 
fo'th flower an' bless de wife?" say de tree. 



74 THE RIDER OF DREAMS 

''No." ''Do he give shade an' shelteh ter de 
wife?" say de tree. "No." "Well, chop'm 
down an' bu'n him befo' he rots," say de tree. 
"Dat's all." But mebbe I kin mek mo' of him 
dan dat an' so I'll try prunin' him an' graftin' 
some good labeh onto him. An' I kin' er think 
hit'll save him yit. Well'm, I must be er goin' 
now. Hit's late an' I mus' git my res' fer I 
got to do a lot er bossin' termorrer an dat's allers 
ha'd fer me. Lucy, I'll fetch you de deeds ter 
de house befo' nine termorrer an', Madison, you 
kin repo't to me at eight o'clock sha'p an' give 
my little boy a lesson on de guitar. You'll be 
dah, won't you? 

Madison 
[Meekly.] Yassuh. 

Williams 
Ready to whu'l in an' scratch. 

Madison 
Yassuh. 

Williams 
Well den, les' all shek ban's on de noo nes' an' 
de noo aig. [They shake hands. He puts on his 
hat and turns to the door.] An' dat remin's me, 
Lucy, you better tell Madison to play on dat 
guitar a plenty tonight because he'll need music 



THE RIDER OF DREAMS 75 

fer to stan' up undeh all de lessons rm goin' 
to lay onto him. Well, I wish you good night. 
I'm er gittin' kin'er ole an' I cain' stay up late 
no mo' without bein' crosser in de mornin'. 
Good night den an' far' you well bofe. Eight 
o'clock, Madison. Good night. 

[He goes, closing the door after him. The pair 
stand silent for a moment, Madison with 
hanging head and in deep dejection.] 

Lucy 

[Throwing her arms around him.] Oh, my 

husban', I'll pray fer you. Don' sorrer now. 

Git youah res' tonight. We kin be hones' now. 

We've got de house at las' an heah's de guitar. 

Madison 

Yassuh, heah's de guitar. [He plays it and 
fondles it. Then his face assumes again its mel- 
ancholy look.] 

Lucy 
What's de trouble? 

Madison 

I don' undehstan' dis worl'. If I wants to 

make music why cain't folks lemme alone to 

make music? If I dream a fine dream why is it 

I always wake up? Looks to me like somebody's 



76 THE RIDER OF DREAMS 

always tryin' to crowd me out an' git me in a 
tight place. 

Lucy 
You wuz doin' all right till you got mix up 
wif dat white man an' his tricks. De trouble 
wuz dat dis dream of youahs wuzn't a good 
dream. 

Madison 
I Yes, but not all of my dreams is bad ones. 
\ All, I wants is room to dream my good dreams 
an' make my own music. 

CURTAIN 



SIMON THE CYRENIAN 



Note. — Although Cyrene was in northern Africa, the 
wall-paintings in the vast Cyrenian tombs depict black 
people instead of brown. 

That Jesus' cross-bearer was a black man, as the early 
painters represented him, is a fact that holds a certain 
suggestion bearing upon a phase of modern society. 

It has been the author's design that all the characters 
in this play should be represented by persons entirely or 
partly of Negro blood ; and this intention has been carried 
out in the original stage production. Simon is a full- 
blooded Negro, Battus is a little less dark, Acte is a mulatto 
as were most Egyptians of the later dynasties. Her at^ 
tendants comprise both mulattoes and Negroes. The 
Roman characters are played by persons of slighter 
negroid strain. 



SIMON THE CYRENIAN 

And as they led him away they laid hold upon 
one Simon, a Cyrenian, . . . and on him they 
laid the cross that he might bear it after Jesus. 

Luke 23, 26. 

PERSONS OF THE PLAY 

Procula, the wife of Pilate 

Drusus, a young Roman 

AcTE, Princess of Egypt 

Battus, a Libyan prince, a boy 

Simon 

Pilate, governor of Judea 

Barabbas, an insurrectionist 

The Mocker with the Scourge 

The Mocker with the Scarlet Robe 

The Mocker with the Crown of Thorns 

A Centurion 

LoNGiNUS, a soldier 

Procula's Attendants 

Acte's Attendants 

Soldiers 

Time — The day of the Crucifixion of Jesus of 
Nazareth 

[79] 



80 SIMON THE CY REN I AN 

Scene : A garden of Pilate's house at Jerusalem. 
The whole scene is strictly Roman, softened 
by its eastern location and by the beginnings 
of Rome's decadence, but there is no trace of 
Judean influence. At the back there is a 
gallery or raised portico reaching entirely 
across the garden. It is roofed but open and 
beyond it the morning sky is seen. This 
passageway, which will be called the portico, 
leads from the Praetorium on the left to other 
buildings on the right. The garden has en- 
trances toward the back at both left and right. 
At the left, near the front, a narrow portion 
of the facade of Pilate's house is seen, with 
a doorway reached by three steps. At the 
right of the garden, near the front, there is 
a wall fountain. There is a marble seat at 
back centre. All the architecture is of mellow 
marble as dark as alabaster. 

[As the curtain rises Procula is discovered 
upon the steps of her house. She is in an 
extreme state of agitation. Her attendants 
are m the garden. The sound of a mob, 
with cries of ^^ Crucify him," " To the Place of 
the Skull," ^'On to Golgotha," etc. is heard at 
the rise of the curtain and at intervals through- 
out the play.] 



SIMON THE CY REN I AN 81 

Procula 
Go! Go, send more messengers. Ah, Hera, 
help me. 

[A Messenger runs into the garden from the 
right and kneels before her, breathless.] 

Procula 
Has Simon the Cyrenian been found? 

Messenger 
The swiftest horseman reached him. He is 
nearing the city. 

Procula 
Hasten him. Bring him. Your freedom for 
it. [The Messenger hurries out.] 

Procula 
[To Attendants.] Is there no news yet? 

Attendant 
One messenger has not returned. He who was 
sent to the royal woman of Egypt. 

Procula 
Send others after him, take wings. [Drusus 
enters the garden from the left.] Drusus! Help 
me draw him swiftly. 



82 SIMON THE CYRENIAN 

Drusus 
The wife of Pilate speaks. Whom shall I send 
to her? 

Procula 
Too late, too late. I speak foolishly. I have 
already sent. 

Drusus 
You are tormented. 

Procula 
Are mine the only eyes that see the doom 
unrolling? 

Drusus 
You speak strangely. 

Procula 
The Furies whip me. 

Drusus 
Tell me your secret. 

Procula 
This Jesus the Nazarene — 

Drusus 
You need not fear him^. He is in Pilate's 
hands. 

Procula 
Out of that is my agony. Ah, my dream. 



SIMON THE CYRENIAN 83 

Drusus 
Dreams? — 

Procula 
Did you feel the earth heave last night? 

Drusus 
I was drinking at Herod's palace. 

Procula 
Trees groaned, the statues shuddered, the 
fountains dried, the walls sweated, a red dew 
fell in the gardens. 

Drusus 
I felt nothing. I saw nothing. 

Procula 
I saw — I cannot tell it. Horror was heaped 
on horror. 

Drusus 
You dreamed of this Nazarene? 

Procula 
Of him. He must not die. I begged his life 
of Pilate but he fears the Jews. Help me. 

Drusus 
Help you? How? 

Procula 
Bring Simon the Cyrenian. 



84 SIMON THE CY REN I AN 

Drusus 
That tiger? 

Procula 
I heard many voices in my dream and one 
voice cried, ''Simon the African shall bear the 
burden." 

Drusus 
You have not felt his claws. 

Procula 
Then you too believe him dangerous? 

Drusus 
The most dangerous man in the empire. 

. Procula 
Dangerous to Romans, it may be, but — 

Drusus 
[Scornfully.] The friend of slaves ! Wherever 
he goes insurrection follows him. He was the 
secret leader of last year's armed uprising in 
Rome when thirty thousand perished. He 
hollows out the empire with sedition. 

Procula 
A stronger man than Rome. 



SIMON THE CYRENIAN 85 

Drusus 
His influence spreads through the provinces. 
He plans world empire, undermining Rome. 
Caesar has been warned of him, but is afraid 
or listless. 

Procula 
[Half to herself.] Surely such power should 
avail to save one life. 

Drusus 
There is a rumour that he was here two nights 
ago to renew the insurrection of Barabbas. We 
had spies set upon him. 

Procula 
Does he fear spies? I have sent for this man. 
If the Nazarene is condemned Simon must 
kindle riot and take him from the soldiers. 

Drusus 
Will the wife of Pilate breed rebellion to 
Rome? 

Procula 

It is for Rome's sake and in my extremity. 

What singing is that? I heard it in my dream. 

[During the last few speeches a marching song 

by men's and women's voices is heard off left, 

at first faintly then, growing louder; the words 

are indistinguishable.] 



86 SIMON THE CYRENIAN 

Drusus 
The air is African. 

Procula 
May it be Simon. 

Drusus 
[Looking off left.] A litter with Ethiopian 
bearers. 

Procula 
Ethiopians! It is the Egyptian. [Drusus 
starts to go off right.] 

Procula 
Though I sent for her I fear her. Stay with 
me. 

Drusus 
I cannot. I bear word from Pilate to Herod. 
[He goes off right. A Herald in Egyptian dress 
enters from left.] 

The Herald 
Acte of Egypt to the wife of Pilate. 
[The voices off left are heard approaching and 
singing the tune that today is known as the 
Negro spiritual "Walk Together, Children.'' 
Acte enters from left walking with her litter- 
hearers and women. With her is Battus, a 
hoy of ten.] 



SIMON THE CYRENIAN 87 

ACTE 

The wife of Pilate sent to me? 

Procula 
For Simon the Cyrenian. Men say you are 
his friend. 

ACTE 

I have come here to find him. 

Procula 
Hs is not here. 

ACTE 

If his mood holds he will not fail to come since 
you have sent for him. Your men have told me 
that he nears the city. 

Procula 
Oh, help me rouse him when he comes. 

ACTE 

What is your need? 

Procula 
A hidden service. 

ACTE 

You ask my aid? Then trust me. 

Procula 
[Coming down close to Acte and speaking in a 
low voice.] Jesus the Nazarene must not die. 



88 SIMON THE CYRENIAN 

ACTE 

Has he been doomed? 

Procula 
Not yet. But if— 

ACTE 

Are you not Pilate's wife? 

Procula 
He fears the Jews. 

ACTE 

And Simon? 

Procula 
If Jesus is condemned Simon must seize him. 

ACTE 

Never. 

Procula 
It must be done. I beg you help me. 

ACTE 

This Nazarene has no friend in me. 

Procula 
And you have never seen him. 

AcTE 

No, but I suffer much because of him. 



SIMON THE CYRENIAN 89 

Procula 
And I. Jesus must live. Oh, move Simon to 
strike. 

ACTE 

More lives than this magician's wait on 
Simon. [An Attendant of Procula enters from 

left-] 

Attendant 
[Calling.] Pilate has gone up toward the 
Judgment Hall. 

Procula 
Beg him to stay for me, for one word more. 
I'll follow. [Attendant goes out left. To Acte.] 
Command my household, wait here for Simon. 
[Seizing Acte and pointing toward the Judgment 
Hall.] In there and at this hour the fate of earth 
and heaven dangles in the hands of blind men. 
Tell Simon this, see that his eyes are open. 
[Procula hastens into her house. During 
Procula' s words one of Acie's Attendants, 
who has strayed affright has reentered, looking 
off.] 

Attendant 
Lord Simon rushes toward this place. 

Acte 
Make ready all. 

[Her tire-women attend her and her men stand 



90 SIMON THE CYRENIAN 

looking expectantly off right. Simon enters 
from right. He is a Negro of majestic 
bearing, with a sad, severe countenarhce. He 
is dressed as a soldier.] 

Simon 
Egypt! 

Battus 
[Rushing joyfully toward Simon.] Simon, 
Simon. 

Simon 
Battus, Royal Battus. [He embraces the boy.] 

Battus 
You have been long away. 

Simon 
Not so long as to have forgotten Battus. 

Battus 
And have you forgotten Cyrene and Egypt 
and our kingdom of the free? [Acte hushes the 
boy, looking apprehensively about.] 

Simon 
No, Battus. 

Acte 
[To her Attendants.] Take the boy deeper in 
the garden. Wait there till I call him. [The 
Attendants lead Battus off left.] 



SIMON THE CYRENIAN 91 

ACTE 

[Moving swiftly to Simon.] You are in danger 
here. What sorcery called you back? 

Simon 
Where is the wife of Pilate? 

AcTE 
She is asleep — or she listens to the harp. 

Simon 
Why are you here? 

AcTE 

I came to meet you. Why did you return? 

Simon 
Messengers from the wife of Pilate reached 
me. 

AcTE 
What spell is on you, you who were never 
trapped? This is the wolf's own mouth. You 
tempt it to close upon you. 

Simon 
The tiger's blood is never lapped by wolves. 

AcTE 
Many can pull down one. Go back. 



92 SIMON THE CYRENIAN 

Simon 
When is the Nazarene to be tried by Pilate? 

ACTE 

So, I have found the hunter that has snared 
you. 

Simon 
When is he to be tried? 

ACTE 

Who knows? Tomorrow. Perhaps never. 

Simon 
Today, the message said. 

ACTE 

Perhaps this afternoon. Oh, Simon, wake. 
Shake off this net of dreams. How were you 
taken in it? 

Simon 
I am not taken. 

AcTE 
You have seen this Nazarene? 

Simon 
I saw him. 

ACTE 

When? 

Simon 
Two nights ago. 



SIMON THE CYRENIAN 93 

ACTE 

After you left me. 

Simon 
Afterward. I had summoned to a garden 
The bravest of the slaves to help them plan 
A new sedition that would free Barabbas. 
There as I roused the jungles against Rome 
I saw lights in another part of the garden, 
I saw men come with torches and seize a man. 
I hurried near and through the ohve leaves 
His eyes looked into mine, 
His eyes burned into mine. I have seen them 
since, 
Waking or sleeping. 

AcTE 

You followed him? 

Simon 
No, and none saw me. I turned back through 
the shadows and joined my men. 

ACTE 

And did you plot again that night? 

Simon 
My thoughts went wide. My words were 
broken. 

I told the slaves to wait till my next coming. 
Then, before dawn, I set out for the sea. 



94 SIMON THE CYRENIAN 

ACTE 

Oh, my Cyrenian, where is that fierce blood 
That poured out from your heart fires to burn 
Rome? 

Simon 
My spirit is fiercer than it was before, 
The groans of the oppressed louder than ever. 

ACTE 

Then why have you turned back? 

Simon 
I have seen the whole world's sorrow in one ■ 
man's eyes. 

AcTE 

What does it mean? You are changed. 

Simon 
There as I looked upon him in the garden 
A wound came in my side like a spear's thrust, 
Bleeding for him. 

ACTE 

Is this all you know of him? 

Simon 
As I went seaward 
I met men coming to the yearly feast. 
These told me of his works, they spoke of 
marvels, 



SIMON THE CYRENIAN 95 

Of healings and of resurrections. 

He suffers the old wrong of the downtrodden. 

ACTE 

Are there no wrongs then in our Africa? 

Simon 
The whole earth groans beneath the per- 
secuted ; 

The outcast, the despised cry out to me. 

ACTE 

And you whom they trust to save them turn 
aside 

To this one man. 

Simon 
I have not turned aside, yet I may help him. 

AcTE 
Go back. Your peril grows. You will be 
trapped. 

Simon 
Rome cannot take me. 

ACTE 

It is not Rome I fear but this Judean. 



96 SIMON THE CYRENIAN 

Simon 
[Moving toward the doorway of Pilate's house.] 
Why does the wife of Pilate stay, 
Having summoned me with horsemen? 

ACTE 

[Going with him.] Doubtless she forgets. 
Her whims are many. 

Simon 
I must hear from her 
What they have done with him. 

ACTE 

[Placing herself before him.] Simon! 

Mists are before your eyes, 

Mists of forgetting. 

You have forgotten Battus and all your holy 
vows before the priests of Libya and Egypt to 
bring him back to Africa Rome's conqueror. 

[She calls off left to Battus. The Attendants 
enter with him.] 

Come, lad, sit here. [She leads him to a seat 
at centre.] Let's play at worlds for Simon. Who 
are you? 

Battus 
I am Battus. 



SIMON THE CYRENIAN 97 

ACTE 

And who is Battus? 

Battus 
Son of Cyrenian kings and kings of Egypt, 
Son of all Africa. 





ACTE 




Who shall be 


your army? 
Battus 




The slaves of Rome. 






ACTE 




Who shall lead them up to 


victory? 




Battus 




Simon and I. 


ACTE 




And then? 







Battus 
They shall be free. All wrongs shall be 
righted. 

S The great shall be brought low, the lowly 
raised. 

ACTE 

How shall we reach our own? 

Battus 
Through blood and fire. 



98 SIMON THE CYRENIAN 

ACTE 

Who shall be our own? 

Battus 
All those who suffer wrongs, the poor, the 
captives. 

AcTE 
[To Simon.] What do you say, now you have 
heard the faith he lives by? 

Simon 
Oh, I have not forgotten. We shall go for- 
ward. 

ACTE 

To triumph. 

Simon 
Yes, to triumph. 

ACTE 

Through fire and blood. 

Simon 
Through fire and blood. 

ACTE 

Ah, I have never doubted the fierce heart in 
you. Never be tamed. 

[Procula appears in her doorway. Acte sees 
her and moves apprehensively aside. Pro- 
cula sees Simon.] 



SIMON THE CYRENIAN 99 

Procula 
You are the Libyan captain? 

[AcTE waves Battus and her attendants off left.] 

Simon 
The wife of Pilate sees him. 

Procula 

[Going swiftly to him.] You have seen Jesus 
the Nazarene? 

Simon 
I have seen him. 

Procula 
Save him. 

Simon 
When is he to be tried? 

Procula 
He has been tried. 

Simon 
[To AcTE.] Who has deceived me? [To Pro- 
cula.] Has he been condemned? 

Procula 
Not yet, not yet. 

Simon 
Your husband holds him. 



100 SIMON THE CYRENIAN 

Procula 
I have no power in this. 

Simon 
You sent for me. 

Procula 
Save this one man. I know your power. 

ACTE 

Remember Cyrene, Egypt and our world, 
Battus and Africa. 

Simon 
Their roots are in my heart. 

AcTE 
Then come away with me. 

Simon 
My breast can nourish both this Judean and 
our kingdom. 

AcTE 

No, for this man's spirit threatens to over- 
come you; they have called him king; there can- 
not be two kings, and you the lesser, in the 
world we plan. 

Simon 

Not that he is a king but that he is a captive 
my heart flows most to him. 



SIMON THE CY REN I AN 101 

ACTE 

Legions of captives in the empire wait for you 
to set them free. Shall you yourself be captive? 

Procula 
He was betrayed. 

ACTE 

[To Simon.] Look to it that you are not your- 
self betrayed by him. 

Procula 
Herod mocked him. 

AcTE 
[To Simon.] If you are now led astray you 
mock our Africa and the new world we plan 
there. 

Simon 
Plan no more worlds if this man is destroyed. 
But he shall conquer Pilate. 

Procula 
Save him. Waken the mob. Breed riot. 
Take him from the soldiers. 

[She suddenly looks upward off left back and 

gives a cry.] 
Pilate ascends to the outer judgment seat. 
[She rushes to Simon.] 



102 SIMON THE CYRENIAN 

Burn the city if he is condemned. 

[Simon stands brooding motionless. Procula 
runs toward her doorway.] 

I'll send to Pilate even on the judgment seat. 
[She rushes into her house. Simon moves after 
her as though he would follow.] 

ACTE 

[Recalling him by a touch so that he turns.] The 
time is not yet ripe. A new sedition now sud- 
denly bursting would dash down all our dreams. 

vSlMON 

Pilate at last will listen. With such a pleader 
the Sufferer is safe. 

AcTE 

You are taken in this soothsayer's mesh. 

Simon 
He has not spoken to me. 

AcTE 
Has he not led you? 

Simon 
He leads me most who suffers most injustice. 



SIMON THE CY REN I AN 103 

ACTE 

And on that night when you were first led 
captive 

The lonely lions and the Libyan moon 
Watched over Africa, faithful to her, 
When you grew faithless. 

Simon 
Africa shall triumph. This man, not I, not 
Battus, shall restore her. 

AcTE 

If Pilate pleases. 

Simon 
He shall conquer Pilate. 

ACTE 

Shall he indeed? 

Simon 

What's there? 

[A loud murmur of many voices has been heard 
at intervals in the Praetorium at left back 
during the past scene. This murmur has 
now increased into a roar out of which the 
cry "Crucify him! Crucify him!" rises. The 
cries and the roar suddenly become trium- 
phant as Simon listens. Then from the 



104 SIMON THE CY REN I AN 

entrance at right there appears a fantastic 
impish figure bearing a great scourge. He is 
followed by another bearing a gorgeous scarlet 
robe and by a third bearing upon a cushion a 
crown of thorns.] 

Simon 
What are these? 

The Mockee with the Scourge 
A scourge for a prophet. 

The Mocker with the Crown of Thorns 
A crown of thorns for a king. 

The Mocker with the Scarlet Robe 

A scarlet robe for a saviour. 

[The mockers cross the garden and disappear at 
left back. Simon watches them motionless 
and transfixed by their sinister meaning as 
it begins to dawn upon him. Pilate appears 
in the upper portico at back left. He enters 
walking slowly backward and looking off 
left with evident horror. A wailing is heard 
off left, it grows and Procula enters from 
her doorway.] 

Procula 

Woe, woe, the air is bleeding, the doom has 
fallen. 



SIMON THE CY REN I AN 105 

Pilate, you have judged a world and 
doomed it. 

Your hands are bloody; wash them again, 
wash them. 

[Pilate glances at her and then motions, looking 
off to the left. A slave appears with him on 
the portico bearing a basin of water. Pilate 
washes his hands and then goes off left.] 

Peocula 

[Going to Simon who stands motionless.] What 
will you do now, now that he is condemned? 
[A man enters slowly from the right. He halts 
just within the garden seeing Simon. The 
newcomer is gaunt and haggard.] 

Simon 
[Suddenly seeing him.] Barabbas! [Running 
to AcTE.j Look to the lad, lead him to safety. 
We'll fire the city. Hide with him till I join 
you. The temple shall be in flames before 
they lead the Nazarene past it. [Acte leading 
Battus and her people hurries out left. Simon 
rushes to Barabbas, speaking swiftly.] Go 
where the arms are stored. Give the slaves 
weapons and torches. Rouse all, arm all, stand 
by me to free the Nazarene. I'll lead his friends. 
Bring the slaves quickly. Strike, give all the 
signal. [Barabbas stands motionless.] Go. 



106 SIMON THE CYRENIAN 

Barabbas 

[In a dull monotonous voice.] All's done, all's 
one, whether men live or die. 

Who can withstand Rome? They tortured 
me. 

My spirit is broken. I have been all night 

Watching this one that would have saved the 
world 

Scourged with me in the prison. 

He is a god but men have conquered him. 

They freed me in his place, the dead for the 
living. 

There are no more gods left now in the sky 

And on the earth nothing but dead men 
crawling. 

Simon 

You stay? You hang back? 

Barabbas 
My spirit is poisoned. I die soon. 

Simon 
Then die for the living. 

Barabbas 

There are none left alive. 

[As he speaks the tops of three crosses and three 
Roman standards are seen against the sky 
at back, beyond the portico, as they are borne 



SIMON THE CYRENIAN 107 

slowly in procession from left to right. As 
they pass, the wailing of women's voices is 
heard interspersed with the angry murmur of 
a crowd and cries of "Crucify him!"] 

Barabbas 

[Pointing to the crosses.] There goes the cross 
now for the god to hang on, 

That's the dead tree to bear the dead world's 
fruit. 

Simon 
So we must stand alone. They yell for blood. 
Now they shall drown in a red sea of it. 
He shall pass over safely, walking on dead 
men. 

[He draws his sword and rushes off right. 
Barabbas stands unmoved. Procula runs 
to right entrance staring off after Simon.] 

Procula 
The gods fight with you now, invisible shapes 
Rush forward with you. See how cloud-like 
armies 
Redden the air. Lead them and seize him. 

[There is a pause, then she retreats slowly from 
the entrance, and Simon re-enters stepping 
slowly backward as though dazzled by a vision. 
As he reaches the middle of the garden a 



108 SIMON THE CY REN I AN 

wonderful voice is heard proceeding from the 
directioji in which he looks.] 

The Voice 
Put up the sword. For they that take the 
sword shall perish with the sword. [The sword 
falls from Simon's hand.] 

The Voice 
Do not resist evil. 

[There is a fnoment's pause and then a Centu- 
rion enters from the right and goes menac- 
ingly up to Simon.] 

The Centurion 
Who are you that you rush against legion- 
aries? Have you an army that you come against 
us? Are you a madman? Are you also one of 
his followers? 

Simon 
[Slowly.] I am his follower. [Procula, wail- 
ing, rushes into her house.] 

The Centurion 
[Turning and calling to someone off right.] Ho, 
Longinus, come; here is another. [To Simon.] 
What is your name and place? 



SIMON THE CY REN I AN 109 

Simon 
Simon, a man of Cyrene. 
[LoNGiNUS enters from the right accompanied 
by several other legionaries.] 

LONGINUS 

[To the Centurion,] The Nazarene has 
fallen. The cross crushes him. He can go no 
further. 

The Centurion 

Here's one to bear it, bring it in the garden. 

[LoNGiNUS goes out right. The Centurion 
and legionaries surround Simon and strip 
him of his outer garments. When they have 
done so the Mocker with the Scourge en- 
ters from the right waving the scourge threaten- 
ingly, looking off as he enters. He turns and 
dances about Simon.] 

The Mocker with the Scourge 
Prophesy, prophesy. Who is it now that 
strikes you? Turn the other cheek. 

[The mocker strikes Simon. With a powerful 
movement Simon seizes the mocker, hurls him 
to the ground and snatching his sword which 
the soldiers have placed upon a bench he clears 
a space about him and starts again toward 
the right entrance.] 



110 SIMON THE CYRENIAN 

The Voice 

Overcome evil with good. Forgive your 
enemy. 

[Simon hows his head, then extends the hilt of 
his sword to a soldier who takes it and strikes 
him with the flat of the blade. Simon sub- 
mits, dumbly, with bowed head, to this and 
to the Mocker with the Scourge who 
rises painfully from the ground and again 
strikes him viciously.] 

The Mocker with the Scourge 
Turn the other cheek. 
[He takes a rope from his girdle and making a 

noose in it puts the noose over Simon's head 

and dances about him holding the rope's end. 

The Mocker with the Robe enters from 

the right.] 

The Mocker with the Robe 
Here is the scarlet robe, it fell from the King's 
shoulders, Jesus of Nazareth, the King of the 
Jews. Of such are the Kingdom of Heaven. 
[He places the robe on Simon.] 
Hail to the new king, Simon of Cyrene, 
King of the Africans, with his Master's robe. 
[The walling of women outside has risen in a 
strain of wild and profound melancholy. It is 
broken by a woman's scream.] 



SIMON THE CYRENIAN 111 

The Voice 
Daughters of Jerusalem, weep not for me, 
but weep for yourselves and for your children. 
For if they do these things in a green tree what 
shall be done in the dry? 
[The Mocker with the Crown of Thorns 
enters from right.] 

The Mocker with the Crown of Thorns 
Ho, another king, another saviour. Solomon 
in all his glory was not arrayed like one of these. 
Let him be crowned. Blessed are the meek. 
[He snatches off Simon's head-dress, throwing 
it on the ground. He pretends to place the 
thorn crown on Simon's head, and then 
throws it contemptuously at his feet. The 
legionaries enter with the cross.] 

The Voice 
If any man will come after me let him take 
up the cross and follow me. 

[The legionaries place the cross upon Simon. 
He bends beneath it and picking up the crown 
of thorns places it upon his head.] 

Simon 
I will wear this, I will bear this till he comes 
into his own. 

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